With Teofilo Folengo, or, as he here calls himself, Limerno Pitocco, the parody of the whole system of chivalry attained the end it had so long desired.But here comedy, with its realism, demanded of necessity a stricter delineation of character.Exposed to all the rough usage of the half-savage street-lads in a Roman country town, Sutri, the little Orlando grows up before our eyes into the hero, the priest-hater, and the disputant.The conventional world which had been recognized since the time of Pulci and had served as a framework for the epos, here falls to pieces.The origin and position of the paladins is openly ridiculed, as in the tournament of donkeys in the second book, where the knights appear with the most ludicrous armament.The poet utters his ironical regrets over the inexplicable faithlessness which seems implanted in the house of Gano of Mainz, over the toilsome acquisition of the sword Durindana, and so forth.Tradition, in fact, serves him only as a substratum for episodes, ludicrous fancies, allusions to events of the time (among which some, like the close of cap.vi.are exceedingly fine), and indecent jokes.Mixed with all this, a certain derision of Ariosto is unmistakable, and it was fortunate for the 'Or-lando Furioso' that the 'Orlandino,' with its Lutheran heresies, was soon put out of the way by the Inquisition.The parody is evident when (cap.vi, 28) the house of Gonzaga is deduced from the paladin Guidone, since the Colonna claimed Orlando, the Orsini Rinaldo, and the house of Este--according to Ariosto-- Ruggiero as their ancestors.Perhaps Ferrante Gonzaga, the patron of the poet, was a party to this sarcasm on the house of Este.
That in the 'Jerusalem Delivered' of Torquato Tasso the delineation of character is one of the chief tasks of the poet, proves only how far his mode of thought differed from that prevalent half a century before.